By: Darryl Reilly
Big Law comes with a high personal cost and it’s not
for everyone. But if you want to be passionate about
your work, to go hard and kick ass, Big Law is
fantastic! Plus, it pays well. What more could you
want?
So, states Regan Van Riper, a fierce single major law firm partner in her 40’s during her “Annual Forum on Women in Big Law” talk about “Running the Gauntlet: Can We Really Make Partner and Get to the Top?” at the start of playwright David Harms’ wickedly funny contemporary office comedy, Powerhouse. Mr. Harms’ delectable knowing dialogue crackles with wit, his familiar characters are rendered with flair and his assured concise plotting all make for an entertaining 85 minutes.
After witnessing Regan’s talk which is addressed to the audience, we’re then at her apartment where she’s intimate with her 35-year-old boyfriend, Guy. Not only do we soon learn that he’s an associate at her firm, but we also learn that their affair has been discerned by a co-worker. Shortly, Human Resources apparatchiks and the chairman, Mr. Peebles, instigate adversarial machinations which Regan combats with Machiavellian force. Harms smoothly spins this all out with brio reminiscent of 9 to 5, Baby Boom and Working Girl, while creating flavorful roles for actors.
Whether clad in power suits or lingerie, ubiquitous performer Laura Shoop is dynamic as Regan. The alluring Ms. Shoop combines ferocity, superior comic timing and emotional vulnerability for her masterful characterization of the stock figure of the iron lady with heart. With his laid-back everyman persona, athletically hulky physique, animated face and sweetly expressive voice, Dominick LaRuffa Jr. is captivating as Regan’s love interest, Guy. The romantic chemistry Mr. LaRuffa Jr. and Shoop conjure up enriches the production.
Stage veteran Jeorge Bennett Watson offers a delightfully wily turn as Mr. Peebles. Wiry and jittery Jennifer Pierro has several hilarious bits as the scheming company psychologist. Understudy Kate Levy is marvelously officious as the HR chief.
Director Ken Wolf’s sharp staging realizes the play’s comedic and dramatic momentum through zesty straightforwardness, visual élan and his cast’s strong performances. Scenic designer Jack C. Golden’s accomplished bifurcated set allows for swift scene transitions as it depicts Regan’s living room and varying office locales that are all framed by a lovely cityscape viewed through a picture window covering the backstage wall. Yang Yu’s deft lighting design veers from stark to moody. Katherine Cartusciello and Mr. Wolf’s jaunty musical contributions are a suitable accompaniment. Ms. Cartusciello’s sound design ably balances musical interludes, effects and audio snippets of financial news broadcasts. Leanna Keyes’ cool projection design accentuates the PowerPoint presentations and connotes the Manhattan locations. Costume designer Sabrinna Fabi’s executive suite and everyday garments are spot on.
With its five characters and one set, Powerhouse is in the tradtion of well-made plays. It’s presented by the Manhattan Repertory Theatre, which for many years was an incubator of emerging playwriting and acting talent at its shuttered West 42nd Street location under artistic director Ken Wolf. The troupe have successfully continued their mission with this quiant and crafty work.
Powerhouse (through October 30, 2022)
Manhattan Repertory Theatre
A.R.T./New York Theatres’ Jeffrey and Paula Gural Theatre, 502 West 53rd Street, in Manhattan
For tickets, www.manhattanrep.com
Running time: 85 minutes with no intermission